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‘Lee Krasner: Living Color’ Review: From Pain to Primacy

The Wall Street Journal

November 9, 2019

‘While the painter’s mark indicates passion,” an artist I know recently said to me, “shape points to pictorial intelligence.” Lee Krasner (1908-1984) possessed an abundance of both. A superbly cool, concise, complete and—most important—compelling exhibition of her work, “Lee Krasner : Living Colour,” is now at the Schirn Kunsthalle Frankfurt. And it makes the case for Krasner as not only a major Abstract Expressionist, but also an artist whose oeuvre—35 years after her death—argues for the continued vitality of abstract painting in an era of increasingly synthetic and electronic art.

—Peter Plagens 

Editors’ Picks: 23 Things Not to Miss in New York’s Art World This Week

artnet

October 8, 2019

French conceptualist artist Bernar Venet, who recently erected Europe’s biggest public sculpture, has brought five of his monumental sculptures. Made from raw bars of steel, each piece is a massive, multi-looped spiral, formed through an incredible show of artistic force.

Art Dealers at Frieze Masters Are Hustling to Make Sales

artnet

October 2, 2019

At a time of circumspection, “people are looking for work that’s rare, high quality, and correctly priced,” says Nick Olney of Kasmin.

William N. Copley

LUNCHEON

October 1, 2019

William N. Copley's "Reclining Nude" graces the cover of this season's Luncheon.

Worldly and welcoming, Luncheon is a style and culture magazine that invites old and new friends of all generations and cultural experiences to share their views, life and work over lunch. From simple jam sandwiches in the park to home-cooked feasts, to hours spent in chic restaurants, the conversation and visual content is inspired by this midday treat created by a top-table of writers, photographers and artists.

Art Market Buyer's Guide: Les Lalanne

The Art Newspaper

October 1, 2019

"The artist couple were celebrated for their works fusing flora and fauna. The Sotheby's sale following the death of Claude could further propel their prices."

Saturday Selects

SightUnseen

September 21, 2019

Monica mentioned last week the plethora of good work being shown at EXPO Chicago, which goes through the end of the day tomorrow, and here comes another great piece by living legend neon artist Keith Sonnier for Kasmin.

A future-focused Chicago relies on a new class of collectors

The Art Newspaper

September 27, 2019

New York-based Kasmin, situated at the highly visible booth at the entrance to Expo, brought a wide selection of works from artists spanning their programme available for between $30,000 and $1m. Over the course of the fair, the team sold four works by Robert Indiana, Bosco Sodi, Elliott Puckette, and James Nares (who currently has a retrospective on show an hour away at Milwaukee Art Museum).

This Year's EXPO Art Week Highlights

Cultured

September 20, 2019

The Peninsula Chicago hotel teamed up with New York gallery Kasmin to host REVERB, an exhibition of the work of James Nares, Iván Navarro and Naama Tsabar. Displayed in the hotel’s public spaces is an exploration of movement, sound and electricity. The neon works, Impenetrable Room by Navarro in particular, draw the viewer deeper in; through the use of mirrors and glass, he creates a rabbit-hole rippling effect that entrances the viewer.

Bernar Venet's "Indeterminate Hypothesis"

artnet China

September 24, 2019

What’s the Craziest Experience You’ve Ever Had at an Art Opening?

ARTnews

September 13, 2019

Howard Lutnick: "Earlier tonight, at Kasmin gallery, I was talking to a friend of mine, Debbie, and she’s chatting with me, and I go, “Debbie, do you want to meet my friend?” She says sure. Then I go, “Debbie, this is Frank Stella.” She was shocked. If you know Frank, he dresses really down. He was wearing a baseball hat and like the crappiest clothes ever. [Looking out into the crowd] He’d be 100 times under-dressed for this group."

“Painters of the East End” Explored How the Beaches of Long Island Influenced Abstract Expressionism

Art in America

September 11, 2019

Although Long Island has been a weekend utopia for New York elites since the late nineteenth century, beach culture boomed on the Island’s South Fork during the postwar period. Lured by open space and dramatic coastal scenery, artists affiliated with the New York School began congregating there in the 1940s and ’50s, forming a close-knit community. These urban artists flocked to the tip of the island alongside urban professionals, transforming what had been farmland into a seaside land of leisure. “Painters of the East End” brought together a selection of paintings and drawings by eleven artists, all of them women, who spent time living and working on Long Island, highlighting the resonances between the landscape and their art.

The New Empire Builders: How Pace and Other Art Dealers Are Reinventing What a Gallery Space Should Do

artnet news

September 10, 2019

The goal for these galleries appears to be to maximize the space available not only to artists, but also to collectors. Paul Kasmin’s latest space on 28th Street includes three private viewing rooms totaling 3,400 square feet, while a mere 460 square feet is set aside for public exhibitions and offices. Viewing rooms “allow us to spend uninterrupted time with collectors and curators in order to discuss a single work in detail,” says Nick Olney, a Kasmin director.

Mega-galleries pick up the pace in the race for space

The Art Newspaper

September 10, 2019

Meanwhile, Kasmin will open another space this fall at 514 West 28th Street, with 3,400 sq. ft of private viewing rooms and office space and 460 sq. ft of public exhibition space. This expansion connects it to its 3,000 sq. ft flagship gallery (and 5,000 sq. ft rooftop sculpture garden) at 509 West 27th Street, which opened last September, "completing our vision for the new, purpose-built space,” its director, Nick Olney, says.

Kasmin Represents Ali Banisadr

Artforum

September 10, 2019

Born in Iran in 1976, Banisadr is known for his densely populated paintings which draw from his childhood experiences of the Iran-Iraq war. His work is currently featured in the exhibition “Bosch & Banisadr, Ali Banisadr: We Work in Shadows at Gemäldegalerie,” which recently opened at the Academy of Fine Arts in Vienna, and has been included in exhibitions ranging from “Love Me/Love Me Not, Contemporary Art from Azerbaijan and its Neighbors” (2013) at the Heydar Aliyev Center in Baku, Azerbaijan, to the Fifty-Fifth Venice Biennale. The New York–based artist will have his first solo exhibition at Kasmin in early 2021.

Kasmin Now Represents Ali Banisadr

ARTnews

September 4, 2019

Painter Ali Banisadr has left Sperone Westwater to join Kasmin, with a solo exhibition scheduled for the enterprise in New York’s Chelsea gallery district in the winter of 2021. Banisadr’s gestural and frenetic paintings are often abstractions of experiences during his childhood in Tehran while witnessing the Iran-Iraq war. His work has been seen at the Museum of Contemporary Art, Los Angeles, the Albright-Knox Art Gallery, Centre Pompidou, and the Los Angeles County Museum of Art, among others.

Alex Katz brings light and movement to Midtown

Time Out

September 5, 2019

The consummate New York artist, Alex Katz, 92, was born in Brooklyn, grew up in Queens and studied art at The Cooper Union following World War II. He began his artistic career during the heyday of Abstract Expressionism, a style he rebelled against with a form of realism that was informed by movies and advertising. But it wouldn’t be accurate to describe his work as Pop Art; rather it comprises smoothly stylized portraits (particularly of his wife Ada, Katz’s constant muse and frequent subject over 70 years) and landscapes (based, more often than not, on the area around his summer home in Maine). Katz’s work is regularly exhibited in all of the city’s major museums, and more recently, on the walls of the 57th Street subway station. And for the next few months, the Park Avenue malls between 52nd and 60th street will host a new outdoor installation by Katz organized by Kasmin in collaboration with Lococo Fine Art Publishers.

James Nares

Artforum

September 1, 2019

James Nares’s eight ingenious and materially intriguing paintings at Kasmin Gallery—made from twenty-two-karat gold leaf applied to a ground of black Evolon, a microfilament textile—created a richly existential space with the most elemental of contrasts: light and dark, symbolizing life and death. The surfaces of his abstractions—stippled or covered with striations that vaguely resemble the hides of cheetahs, tigers, and other exotic cats—are resolutely flat, in the grand modernist tradition. Yet they are profoundly expressive, rich with personal and social meaning, as evidenced by the pictures’ titles, such as Greenwich I, 2018; Lafayette VI and Lafayette VII, both 2019; Laight I, 2018; and Wooster, 2019—which cite streets in Lower Manhattan, where the artist has lived for decades. 

— Donald Kuspit
 

Lee Krasner, Hiding in Plain Sight

The New York Times

August 19, 2019

A tangle of drips in all directions; a hazy rectangle in a field of dark pigment; a rigid zip down an empty canvas … To be an Abstract Expressionist in New York’s buoyant first postwar years, it helped to have a signature look. Yet Lee Krasner was suspicious of paintings where telltale marks were like alternative autographs — even when the autograph was her own husband’s.

She was proud not to have a single style. You had to figure out each painting on its own, she said, or you end up with something “rigid rather than being alive.”

Tough, diligent, and deadly serious about the history of art, Krasner might have been the most intelligent of the painters who convinced the world in the late 1940s that New York had displaced Paris as the epicenter of modern art. That intelligence expressed itself through an art that ricocheted across styles and media, from tightly massed collages to huge abstractions of Matissean richness.

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